Senior Year 05: Breaking Up Is Not
by Wild Pikachu
Summary: Carmen makes a confession to Sugar Daddy; Josh has to try to deal with Lily's demons without help from Sam, who goes AWOL; meanwhile, guilt drives Brooke to the breaking point.
1. Teaser

**Notes:** _(Re-edited and re-uploaded September 2010)_

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**Guest Cast:**  
Mr. Osbourne: Erick Avari  
Principal Krupps: Robert Gant  
Art Fleischer: Brett Cullen

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**Formatting:** The main differences between the way the episodes are presented here and true script format are that on this website, everything is left-justified, while script format has specific block-margins for dialog, etc., and that scripts are still traditionally printed in Courier (monospace) font. These episodes are also available on my Popular website (link is in my info) if you would like to read them as though they were printed scripts.

**Legal whatchamacallit:** Pre-existing "Popular" characters and situations are ©1999-2001 Touchstone Television, et al. For what it's worth, original material is ©2001-2010 by yours truly, the Wild Pikachu. Please don't steal this without asking first.

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**POPULAR: SENIOR YEAR**

**BREAKING UP IS NOT ALL THAT HARD TO DO**

TEASER

FADE IN:

INT. MCQUEEN UPSTAIRS HALLWAY - CONTINUOUS

A frozen tableau: Sam, staring in stricken shock at Harrison  
and Brooke, who have obviously just been in the shower  
together.

For a long moment, no one moves.

HARRISON  
Sam—

His voice breaks the spell; Sam focuses on him, eyes wide,  
shaking her head in mute disbelief. Then she turns and flees  
back down the stairs.

HARRISON (CONT'D)  
SAM!

He rushes down the stairs after her.

CUT TO:

EXT. MCQUEEN HOUSE - MOMENTS LATER

The front door flies open, and Sam runs full-tilt out and down  
the walk. A moment later, Harrison appears in the open  
doorway.

HARRISON  
SAM!

He starts to step outside before remembering that he is only  
wearing a towel. He turns back, slamming the door shut.

CUT TO:

INT. MCQUEEN UPSTAIRS HALLWAY - MOMENTS LATER

Harrison bounds back up the stairs and runs for Brooke's room.  
Brooke, who hasn't moved from the bathroom doorway, reaches  
for him.

BROOKE  
Harrison—

He brushes past her and disappears into her room. Starting to  
cry, she slides down to the floor, burying her face in her  
hands.

WHITE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

INT. JOSH AND LILY'S APARTMENT

Josh is treading down the hallway, peeking around corners and  
doorways.

JOSH  
Lily? Lil? Come on, where are  
you? Look, I'm sorry I blew up.

He stops for a moment and listens. Silence. He continues  
down the hall.

CUT TO:

INT. THE BEDROOM - CONTINUOUS

Josh pokes his head around the corner of the doorway, then  
steps inside cautiously.

JOSH  
Lily?

He looks around the empty room; then, the barest of sounds  
comes the closet. Carefully, he pads across to the closet  
door—which is slightly ajar—and opens it.

Lily is huddled in the corner of the closet, quivering, arms  
wrapped protectively over her head.

JOSH (CONT'D)  
Hey...

He reaches down—but the moment he touches her shoulder she  
recoils violently, and he jerks his hand back.

JOSH (CONT'D)  
Whoa! Lily, it's me. It's Josh.  
(gently cajoling)  
Come on...I'm not going to hurt  
you...

He tries to touch her again, but again she flinches away,  
rocking herself in the corner of the closet. Josh leans in  
closer.

LILY  
(mumbling)  
...please don't hit me anymore,  
I'll be good...I promise...just  
don't hit me...

Once more Josh reaches out, and this time when she shies away  
he keeps hold of her. Scooping her up in his arms, he pulls  
her out of the closet, carries her over to the bed and gently  
lays her down. She curls up there, eyes open but unfocused.

CUT TO:

INT. BROOKE'S BEDROOM

Harrison is just putting on his shoes when Brooke appears in  
the doorway.

BROOKE  
Harrison—

HARRISON  
I have to go. I have to find Sam.  
I have to find her, and...

Brooke's voice rises to the edge of ragged hysteria.

BROOKE  
And what? Explain? It wasn't  
what it looked like? It didn't  
mean anything to you?

HARRISON  
Not now, Brooke, please. I have  
to—

BROOKE  
—go, right, you have to run and  
make things up with Sam.

HARRISON  
I-I can't handle this right now—

BROOKE  
God, Harrison, you never COULD  
handle us!

HARRISON  
Brooke—

BROOKE  
Fine! Go, then! See if I care!

For a moment it looks as if Harrison might not go; but then he  
gets up and rushes out of the room. Brooke walks shakily to  
her bed and collapses on it.

The phone rings.

For three, four, five rings she ignores it. Then, finally—  
perhaps remembering that she wrecked her answering machine—  
she reaches out, zombie-like, and picks it up.

BROOKE (CONT'D)  
(into the phone)  
Hello?

INTERCUT WITH:

JOSH - CLOSEUP

JOSH  
Brooke! Is Sam there? I need to  
talk to her.

Brooke's reaction is to laugh mirthlessly, and hold the  
receiver away for a moment, shaking her head and looking to  
the heavens fatalistically. Finally she brings the phone back  
to her ear.

BROOKE  
No...Josh...Sam's...not here.

JOSH  
Well, do you know where she went,  
then?

BROOKE  
(snorts softly)  
Not a chance in hell.

JOSH  
C'mon, Brooke, I'm not playing  
around! Lily's in trouble, and I  
need Sam!

That brings Brooke at least partly out of her funk.

BROOKE  
What...? Lily...what?

JOSH  
Something...I don't know WHAT  
happened...we were...and now  
she's...I don't know the word,  
it's one of those "E.R." words,  
like, she's all frozen...cat  
something. Like she's in shock.

BROOKE  
(whispering)  
Catatonic.

JOSH  
Yeah, I guess.

Brooke sits up and pulls herself together.

BROOKE  
I'm sorry, Josh...I really don't  
know where Sam is.

JOSH  
(shaking his head)  
Brooke—I'm scared. I've never  
seen her like this before. I've  
never seen ANYONE like this  
before.

BROOKE  
Okay...Josh, just...don't panic.  
I'll... Hey, what about Carmen?

JOSH  
Naw, she went with Shug to some  
concert today.

BROOKE  
Try her anyway.

CUT TO:

INT. CARMEN'S BEDROOM

where Sugar Daddy has confronted Carmen with the computer  
printouts he's discovered.

CARMEN  
(defensively)  
It's not what it looks like,  
Sugar.

SUGAR  
It's not what it looks like? How  
can it not be what it looks like?  
It looks like you're doin' the  
nasty with some guy online.

CARMEN  
Come on, we've never even met!

SUGAR  
Oh, no?

He flips through a few of the papers.

SUGAR (CONT'D)  
(reading)  
"I thrill to the touch of your  
strong hands, as you brush your  
lips across my—" Man, I can't  
even read this stuff!

CARMEN  
It's just—chat.

SUGAR  
This is NOT just chat. This is...  
it's like, internet porn.

CARMEN  
It is NOT! It's...romantic.

SUGAR  
(shakes his head)  
I don't know a lot about romance,  
but I know THIS isn't it.

CARMEN  
It's just make-believe, Sugar.  
It's just pretend.

SUGAR  
Man, what happened? When we were  
chatting online, I didn't know it  
was you—but it was the real you.

CARMEN  
Yeah, well, that was a long time  
ago.  
(indignantly)  
And what gives you the right to  
judge me, anyway? What, you  
think we go on a couple of dates,  
and you can march in here and  
dictate my personal life?

SUGAR  
I'm not judging you.

CARMEN  
You sure as hell sound like it.  
Look, why don't you just go to  
your concert? I'm not in the mood  
for ska anymore.

SUGAR  
(throwing up his hands)  
Fine by me.

He tosses the papers aside and stalks out of the room. Carmen  
flops down on the bed, then shakes herself and reaches for the  
phone.

SPLIT SCREEN WITH:

JOSH. - CLOSEUP

also dialing the phone. It takes a moment for them to get  
identical busy signals. They both hang up.

CUT TO:

INT. AUSTIN LIVING ROOM - LATER

The doorbell rings.

GEORGE (O.S.)  
I'll get it!

MRS. AUSTIN (O.S.)  
Are you sure?

George, on crutches, walks into the picture.

GEORGE  
I can still walk, Mom!  
(to himself)  
Sort of.

He steps to the front door and opens it to find Sam standing  
there, eyes red-rimmed, shaken.

GEORGE (CONT'D)  
Sam? What—?

Still on the edge of tears, she opens her mouth to say  
something—but then turns and walks away.

GEORGE (CONT'D)  
Sam!

He hobbles out after her.

CUT TO:

EXT. AUSTIN DRIVEWAY - CONTINUOUS

With his mobility impaired, it takes George a few seconds to  
get around and in front of Sam, blocking her path.

GEORGE  
Sam, what is it? What's wrong?

Again she starts to try to say something, but then just shakes  
her head and buries her face into his shoulder, sobbing, while  
he wraps his arms around her as best he can.

CUT TO:

INT. JOSH AND LILY'S LIVING ROOM

Josh opens the front door, and Brooke steps inside.

BROOKE  
How is she?

JOSH  
I think she's sleeping. Her eyes  
are closed, anyway. I-I...I just  
don't know what's wrong?

BROOKE  
Did you find Sam?

He shakes his head.

JOSH  
I tried everywhere. Carmen's line  
was busy...George wasn't there,  
but I talked to his mom, and she  
hadn't seen her... I've got to  
go find her. She knows Lily  
better than anyone. She'll know  
what to do. Look, Brooke—

BROOKE  
I'll stay here. You go.

JOSH  
(hugging her)  
Thanks.

As Josh gathers his things and leaves...

DISSOLVE TO:

EXT. AUSTIN DRIVEWAY - LATER

George and Sam are sitting side-by-side on a low stone wall.

SAM  
...I just...I couldn't...I can't  
believe he...they...

GEORGE  
I'm sorry, Sam.

SAM  
I didn't know where else to go...  
I didn't...know if I should come  
here... I thought...maybe you'd  
think...

GEORGE  
What?

SAM  
(looking over)  
...I got what I deserved? I mean,  
now I know how you felt, after  
spring break.

GEORGE  
Is that what you think of me, Sam?

SAM  
(hanging her head)  
No. I'm sorry.

GEORGE  
I'm sorry this happened. Okay,  
maybe I'm supposed to think,  
turnabout is fair play...but I  
don't. I never wanted to see you  
hurt, Sam.

He puts his arm around her, and she snuggles next to him. For  
a couple of moments they stay like that; then she leans in  
closer, to kiss him.

GEORGE (CONT'D)  
(stiffening)  
Sam...don't.

SAM  
(hurt and confused)  
But—

GEORGE  
I don't know what you expect from  
me, but...

SAM  
But...Brooke said...

GEORGE  
Look...I do care about you, but...  
not that way. I can't go there—  
especially not now.

SAM  
(pleading)  
George—

GEORGE  
I want to be there for you, Sam.  
But not like this.

He hops up and gets his crutches under him.

GEORGE (CONT'D)  
I'm sorry.

She hugs herself tightly and watches despairingly as he  
hobbles away.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

DREAM SEQUENCE - B&W

INT. A BEDROOM

A large man with a belt and a clenched fist is advancing  
menacingly on a battered little girl (about 8) huddled in the  
corner of the room.

MAN  
I'll teach you not to run around  
this house, you little snot!

GIRL  
(cowering)  
I won't, I promise, Daddy...  
Please don't hit me again...I  
swear I'll be good...

The man reaches down and swings his fist, and—

CUT TO:

INT. JOSH AND LILY'S BEDROOM

Lily bolts upright in bed, screaming. In an instant Brooke is  
there, arm around her protectively.

BROOKE  
(soothingly)  
It's all right. You're all right.

LILY  
(blinking)  
Brooke?

She looks around uncertainly.

LILY (CONT'D)  
What are you doing here?

BROOKE  
Josh called. Well, he called  
looking for Sam, but...I came.

LILY  
Josh...

Her eyes widen slightly, and she pulls back to look at Brooke.

LILY (CONT'D)  
Did I...say anything?

Brooke purses her lips sympathetically and nods.

LILY (CONT'D)  
Please, don't tell Josh.

BROOKE  
I won't, I promise. But, Lily...

LILY  
I know.

BROOKE  
Do you...want to talk about it?

Lily shrugs morosely, settling into a sitting position against  
the headboard. Brooke pulls her legs up, sitting cross-legged  
across from her.

LILY  
My father...he wasn't a very nice  
man. And he was an alcoholic.

BROOKE  
He hit you.

LILY  
And my mom. Domestic violence—  
America's dirty little secret. We  
were a statistic.

BROOKE  
God, I'm sorry.  
(delicately)  
Did he...?

LILY  
No. He just couldn't control his  
temper.

BROOKE  
Why haven't you told Josh?

LILY  
I don't...I don't want him to feel  
sorry for me. PLUS I don't want  
him to think he has to walk on  
eggshells around me.

BROOKE  
Lily, you can't keep something  
like this from him. You guys are  
married. For better or worse.

LILY  
I think this is a little worse  
than "worse".

BROOKE  
I know he loves you. He'd do  
anything for you. You just have  
to trust him.

The conversation hangs there for several long moments, each of  
them wrapped up in her own thoughts. Then Lily looks up.

LILY  
Did you say Josh called you?

BROOKE  
No, I said he was looking for Sam.

Something in Brooke's face betrays her; Lily peers at her more  
closely.

LILY  
What?

Brooke just looks away, shaking her head.

LILY (CONT'D)  
Something happened? Between you  
and Sam?

Brooke lets out a rueful little laugh.

BROOKE  
I've... Any chance Sam and I  
ever had for any kind of  
relationship...it's ruined.  
Forever.

LILY  
It can't be that bad.

Brooke looks up at her.

BROOKE  
Yes, it can.

DISSOLVE TO:

MONTAGE

EXT. CITY STREET

In the heart of the city, Sam aimlessly wanders the streets,  
holding herself, alone amongst the crowds. The sequence ends  
as her eye catches the sign on a building across the street:  
"L.A. National Trust Bank". Taken by a thought, she cuts  
across the flow of traffic.

CUT TO:

INT. THE BANK

Sam steps up to one of the teller windows.

SAM  
McPherson, Samantha? Five-three  
nine-one-eight-six-six-three.

The teller taps some keys.

TELLER  
What can I do for you today, Ms.  
McPherson?

SAM  
I want to take money out of my  
savings account.

TELLER  
And how much?

SAM  
All of it.

The teller looks up sharply.

TELLER  
Are you certain?

SAM  
Yes.

TELLER  
I see... And would you like—?

SAM  
Cash.

TELLER  
Please, wait just a moment.

The teller scoots back in her chair.

CUT TO:

INT. CARMEN'S BEDROOM

Carmen has been pacing the room despondently. Finally she  
plops down in front of her computer and begins to work on it.  
A moment later the room fills with the sound of the modem.

INSERT: THE COMPUTER SCREEN

as she enters a romance chat room.

She relaxes and a grin spreads across her face as she begins  
to type in earnest.

CUT TO:

INT. THE BANK

The teller is counting out a spread of bills in front of Sam.

TELLER  
...six hundred, seven hundred,  
eight hundred, twenty, forty,  
fifty, fifty-two, and thirty-seven  
cents.

Sam sweeps up the bills and the change and tucks it all away.

SAM  
Thanks.

CUT TO:

EXT. MCQUEEN HOUSE - LATER

Harrison approaches the front door and rings the bell. He  
waits, shifting impatiently, for a few moments, then knocks on  
the door.

HARRISON  
(calling)  
Sam? Sam!

No response.

HARRISON (CONT'D)  
Sam, are you in there?  
(pause)  
Brooke? Anyone home?

He tries to peer in the front window, but then gives up and  
walks away. A few seconds after he disappears, Sam comes out  
from behind a bush and quickly goes inside.

CUT TO:

INT. MCQUEEN LIVING ROOM - CONTINUOUS

Inside, Sam looks all around, almost a bit lost, or as if  
she's seeing the room for the first time. After a bit of  
this, she shakes herself out of her reverie and heads up the  
stairs.

CUT TO:

INT. JOSH AND LILY'S BEDROOM

Lily and Brooke are sitting on the bed in the midst of a sober  
silence.

LILY  
Wow.

BROOKE  
You hate me now, too, right?

LILY  
Brooke...

BROOKE  
I mean, of course you hate me.  
How else could you feel? How else  
could anyone feel? I don't blame  
you for hating me.

LILY  
Brooke—

Brooke swings her legs out, stands up, and steps towards the  
door.

BROOKE  
I'm just gonna go now, 'cause I'm  
sure you don't want to be anywhere  
near me...

LILY  
BROOKE!

Brooke finally stops and turns her head to look back at Lily.  
Lily smiles encouragingly and pats the bed next to her—  
something she has to do twice before Brooke returns and  
perches on the edge of the bed. Lily reaches for and takes  
her hand.

LILY (CONT'D)  
Of course I don't hate you.

Brooke shakes her head, utterly confused.

BROOKE  
Why?

LILY  
Well, first of all, hatred is an  
extremely negative emotion, which  
ultimately poisons the hater as  
well as the hated.

Brooke gives her a very strange look. Lily chuckles, and  
starts over.

LILY (CONT'D)  
Brooke, I'm not going to judge  
you. Look at me—I am the last  
person to tell anyone what to do  
when it comes to love.

BROOKE  
But—you and Sam are, like, best  
friends, and I've...  
(covering her eyes)  
Oh, God, what have I done?

LILY  
You didn't just go after Harrison  
to hurt Sam, did you?

BROOKE  
(shocked)  
What? No!

LILY  
Then you followed your heart, and  
it took you somewhere completely  
unexpected.  
(shrugs)  
I DO know a little something about  
that.

BROOKE  
Will you stop being so  
understanding? How can you be so  
understanding?

That gets a laugh out of Lily, before she turns serious again.

LILY  
All right... Yes, Sam is my  
friend, but...I'd like to think  
that you're my friend, too. And  
I've learned that when your  
friends are fighting, the best  
thing to do is to not get  
involved. So I promise, right  
now, that I won't choose sides  
between the two of you. No matter  
what.

Brooke leans over and hugs Lily.

BROOKE  
I don't you suppose you have any  
idea how I can fix things with  
Sam?

LILY  
Sorry—you're on your own there.

BROOKE  
(ruefully)  
She's going to kill me. How am I  
supposed to live with her after  
this?

Lily shrugs helplessly. Brooke refocuses.

BROOKE (CONT'D)  
So, what about you?

LILY  
I think I oughta call Josh and get  
him back here.

Lily reaches for the phone.

CUT TO:

EXT. MCQUEEN HOUSE

Josh walks up to the front door, rings the bell and then  
pounds on the door.

CUT TO:

INT. MCQUEEN KITCHEN - CONTINUOUS

Sam comes down the kitchen stairs, duffel bag slung over her  
shoulder. At the bottom of the stairs, she hears the banging  
at the front door.

JOSH (O.S.)  
(from outside)  
Sam? Are you in there?

After a moment, she turns and quietly slips out the patio  
door.

CUT TO:

EXT. MCQUEEN HOUSE - CONTINUOUS

Josh is still standing on the stoop when his cell phone rings.  
He pulls it out.

JOSH  
(into the phone)  
Hello?

LILY (V.O.)  
(over the phone)  
Josh?

JOSH  
Lily! Are you all right?

LILY (V.O.)  
I'm fine, Josh. Can you come  
home?

JOSH  
(relieved)  
Sure thing, baby, I'm leaving  
right now.

Josh puts the phone away and rushes off.

CUT TO:

INT. JOSH AND LILY'S BEDROOM - CONTINUOUS

Lily hangs up the phone.

LILY  
You don't have to stick around.

BROOKE  
Uh-uh. I promised Josh I'd stay  
with you till he got back. As  
long as you're sure you can stand  
to be in the same room with me...

LILY  
(laughing)  
Stop it.

BROOKE  
(sighs)  
Besides, I'm not exactly looking  
forward to going home.

Lily makes a sympathetic sound and pats Brooke's hand.

CUT TO:

INT. LIBRARY - LATER

At a table of computers under a hanging sign that reads  
"Internet", Sam is sitting at one of the terminals, typing  
away. After a few mouse clicks, she stands, picks up her  
duffel bag and walks off.

CUT TO:

INT. JOSH AND LILY'S BEDROOM

The two girls are still sitting on the bed.

LILY  
You know—I wonder why Josh didn't  
call Carmen.

BROOKE  
Oh—he did. He said the line was  
busy.

LILY  
Hmm...

Lily reaches for the phone and dials; a moment later she hangs  
it up again.

LILY (CONT'D)  
Still busy.  
(pause)  
That's funny—I thought she and  
Sugar Daddy were going out today.

BROOKE  
(shrugs)  
I don't know.

From outside the room there is the sound of the front door  
opening and closing. Brooke stands up, and a moment later  
Josh appears in the doorway.

JOSH  
Lily?

LILY  
(waves)  
I'm sorry I scared everyone.

He rushes to the bed and hugs her tightly.

JOSH  
Baby, I couldn't stand it if  
anything happened to you.

LILY  
I'm going to be fine. Really.

Brooke steps away.

BROOKE  
I'm going now.

Lily holds out her hands, draws Brooke to her and hugs her.

BROOKE (CONT'D)  
Good luck.

LILY  
You too.

BROOKE  
(rolls her eyes)  
Yeah.

She brushes Josh's shoulder.

BROOKE (CONT'D)  
(to Josh)  
You—take good care of her.

With that, Brooke walks out. Josh throws Lily a questioning  
look.

LILY  
Later. Right now, what's  
important is us.

JOSH  
Lily, I'm sorry, I didn't mean—

LILY  
I know, you didn't mean anything.  
But there's some things, things  
about me, that I haven't told you.  
Things I've kept from you. I  
thought that was for the best, but  
it's not, and now we have to talk.

JOSH  
I love you, Lily. You can tell me  
anything.

LILY  
(smiling)  
I know.

As Josh settles on the bed—

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. ART FLEISCHER'S OFFICE

Art is reading notes, typing on his computer, and generally  
doing several things at once.

Vicki pops her head through the open doorway.

VICKI  
You've got a meeting with Tolliver  
in Metro in ten minutes. The  
housing project thing?

FLEISCHER  
(without looking up)  
Right.  
(pause)  
Where's the Planning Commission  
file?

Vicki, who had left, swivels back.

VICKI  
Roger took it.

FLEISCHER  
I'm not done with it.

VICKI  
He had a deadline.

FLEISCHER  
Get it back.

VICKI  
Don't you have a meeting?

FLEISCHER  
I want it on my desk when I get  
back.

VICKI  
Okay, okay...

Fleischer is half out of his chair when he notices a blinking  
box in the corner of his computer screen. He sits back down  
and uses his mouse to open a set of windows; and his eyes  
narrow as he reads the screen. He reaches for his phone and  
speed-dials a number.

FLEISCHER  
Come on, come on...

He hangs up the phone and clicks his mouse once more. Then he  
jumps up, snatches a sheet of paper as it emerges from the  
printer, and rushes out, brushing by Vicki.

FLEISCHER (CONT'D)  
(calling over his shoulder)  
Cancel my meeting!

VICKI  
Wha—? Where are you going?

But he is already halfway to the elevator.

VICKI (CONT'D)  
(mimicking)  
"I'm sorry, my boss has  
temporarily lost his mind. I'll  
be sure to have him call you as  
soon as he regains his sanity."

CUT TO:

INT. MCQUEEN LIVING ROOM - LATER

The front door opens and Brooke walks in. She opens her mouth  
to call out, but then thinks better of it. She is eyeing the  
stairs when the door opens behind her, making her yelp and  
spin around. Jane and Mike come in, pushing Mackenzie in a  
stroller.

BROOKE  
Dad! Jane!

MIKE  
Oh, good, you're here.

BROOKE  
(cautiously)  
Yeah?

MIKE  
Go tell Sam we're all going out  
for Saturday supper.

BROOKE  
(shaking her head slowly)  
Oh...no, that's a really bad idea.  
A really, really bad idea.  
Really.

JANE  
(frowning)  
It's a good idea.

BROOKE  
Noo, trust me, it really isn't.

JANE  
(folds her arms)  
Don't tell me you and Sam are  
fighting again.

Brooke looks away guiltily.

JANE (CONT'D)  
Well, this'll be a good  
opportunity for you to work things  
out.  
(sighs)  
Fine, I'll get Sam.

As Jane heads up the stairs, Brooke turns to her father.

BROOKE  
Dad, is there any way at all I can  
get out of this?

MIKE  
Sorry, honey. You know, Jane just  
wants things to work out between  
the two of you.

He puts his arm around her shoulder.

MIKE (CONT'D)  
And so do I.

BROOKE  
Dad, really, I don't think—

But suddenly from upstairs comes:

JANE  
MIKE!

Mike and Brooke trade a glance, and go running for the stairs.

CUT TO:

INT. SAM'S BEDROOM - MOMENTS LATER

Brooke and Mike crowd into the doorway together, to find Jane  
standing in the middle of the room—which is a mess, with  
opened dresser drawers and clothes strewn on the bed and on  
the closet floor, which is otherwise empty.

BROOKE  
Oh, my God, Sam...

JANE  
(hysterical)  
Why? Why would she do this?

Mike turns to Brooke.

MIKE  
Do you know what this is about?

Brooke closes her eyes and hangs her head before finally  
nodding reluctantly.

DISSOLVE TO:

INT. MCQUEEN LIVING ROOM - LATER

Brooke is sitting across from Mike and Jane.

BROOKE  
...and then Harrison took off  
after her. I haven't heard from  
either one of them since.

For a few moments Mike and Jane just sit there, looking at  
her. Then Jane shakes her head angrily.

JANE  
I can't believe you did this.  
What were you thinking?

BROOKE  
But, I—I didn't know...Sam wasn't  
supposed to come home—

JANE  
It shouldn't have happened at all!  
Not at all!

She jumps up and begins to pace; and then turns to Mike.

JANE (CONT'D)  
We have to find her.

MIKE  
All right, we'll split up, cover  
her friends, where she might have  
gone...

BROOKE  
I can—

Mike cuts her off sharply.

MIKE  
(severely)  
YOU won't do anything. You are  
going to stay right here, and hope  
we can find Sam before anything  
happens to her. You've already  
caused enough damage.

Brooke's face crumples.

MIKE (CONT'D)  
I'm very disappointed in you,  
Brooke.

She breaks out in sobs, leaps to her feet and runs upstairs.  
Mike looks as if he might be regretting his outburst—but then  
the doorbell rings. He gets up and opens the door, and  
Fleischer brushes past him.

FLEISCHER  
Is Sam here?

He pulls up short at the sight of Jane's anguished expression.  
Mike closes the door behind him.

FLEISCHER (CONT'D)  
What's going on?

MIKE  
We think...Sam's run away.

JANE  
Do you know something about this?

FLEISCHER  
(sighs)  
I just got a very disturbing  
e-mail from her.

He takes a piece of paper out of his pocket and hands it to  
Mike, who unfolds it.

MIKE  
(reading)  
"Dear Art: I'm sorry, but  
something has come up, and I have  
to go away. I really appreciate  
the opportunity you gave me, and I  
hope you can forgive me someday.  
Sam."

JANE  
Oh, Sam... What do we do? We  
can't call the police until  
midnight.

FLEISCHER  
It doesn't matter—they won't take  
it seriously anyway.

JANE  
(astounded)  
Why NOT?

FLEISCHER  
First, she'll be classified a  
runaway, not a kidnap victim.  
Second, she's almost eighteen.  
The older the person is, the lower  
priority it gets. In a few months  
it won't be called running away,  
it'll be called "moving out".

MIKE  
We just have to find her  
ourselves, then.

FLEISCHER  
Right. Our best hope is that  
she's gone to one of her friends.  
If not...we'll have to check the  
bus station, the train station—  
even the airport, if she's got  
enough money; and knowing how  
resourceful Sam is, she's probably  
got all the money she can get her  
hands on.

CUT TO:

INT. BROOKE'S BEDROOM - MOMENTS LATER

Mike appears in the open doorway. Brooke is sitting on the  
bed, her back to him.

MIKE  
(brusquely)  
Brooke, we're going. You stay  
here and look after Mac.

No response.

MIKE (CONT'D)  
All right?

She turns her head just slightly and nods, once.

MIKE (CONT'D)  
After we've found Sam, we'll talk  
more.

She doesn't acknowledge that, either, and after a moment Mike  
turns away and heads back down the hall.

CUT TO:

INT. MCQUEEN LIVING ROOM - MOMENTS LATER

Jane is putting Mackenzie in her crib when Mike runs back down  
the stairs.

MIKE  
All right, we'll split up. We can  
cover three times the ground that  
way.

JANE  
Wait—should we call her friends  
first, before we go out looking?

Fleischer holds up his cell phone.

FLEISCHER  
The miracle of modern technology:  
we do both at the same time.

Jane picks up her back and hurries out; Fleischer is at the  
door when Mike catches him by the elbow, holding him back.

MIKE  
(quietly)  
What's the worst-case scenario?

FLEISCHER  
(grimacing)  
Worst-case? If she decides to  
skip town, and we don't find her  
before she does...we probably  
never will.

CUT TO:

EST. THE BUS STATION

An exterior shot from the rear, with buses pulling in and out.

CUT TO:

INT. THE BUS STATION

Sam steps up to one of the windows at the ticket counter.

SAM  
I'd like a one-way ticket to New  
York City, please.

CLERK  
That'll be one-seventy-two forty.

Sam counts off a bunch of twenties and pushes them across the  
counter, and a few moments later picks up her ticket and  
change.

SAM  
Thanks.

She walks through the waiting area to an empty seat, unslings  
her duffel bag and sits down. She looks up at the huge  
departure board on the wall...

INSERT: THE DEPARTURE BOARD

A line reading across: "LAS VEGAS - ST LOUIS - CHICAGO - NEW  
YORK", "BAY 6", and "245PM".

...and then checks her watch.

INSERT: SAM'S WATCH

which shows 2:07.

With a little sigh, she settles back in her seat.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. JOSH AND LILY'S APARTMENT

The couple are sitting on the sofa. Lily is studying Josh  
intently.

JOSH  
I...I don't know what to say.

LILY  
You're mad.

JOSH  
I'm not— Lily, you didn't trust  
me enough to tell me this!

LILY  
I know, I'm sorry. I just  
thought...it would be easier if  
you didn't know.

JOSH  
Well, it's not. Lying, and, and,  
keeping secrets—it's not easier.

LILY  
I know. Can you forgive me?

JOSH  
Don't be silly. Of course I can  
forgive you. I love you.

LILY  
Aw, baby, I love you, too. I  
promise, no more secrets.

As she snuggles up next to him, the phone rings. She groans,  
and leans across the sofa to get to it.

LILY (CONT'D)  
(into the phone)  
Hello?... What?... Wait, hang  
on, slow down, Ms. McPherson...  
Sam did WHAT?

She stares wide-eyed at Josh, who gives her a quizzical look.

CUT TO:

INT. AUSTIN LIVING ROOM

George opens the front door, and sees Harrison standing there.

GEORGE  
Okay, see, this takes nerve, you  
showing up here like this.

Harrison reaches the obvious conclusion.

HARRISON  
Sam's been here.

GEORGE  
Yeah, Sam's been here.

HARRISON  
(annoyed)  
Well, I'm sure you enjoyed the  
opportunity to let her cry on your  
shoulder.

GEORGE  
(pointing to his cast)  
See this? This is the only thing  
that's saving your ass right now.

MRS. AUSTIN (O.S.)  
(calling)  
George!

George looks over his shoulder.

GEORGE  
Just a minute, Mom!

MRS. AUSTIN (O.S.)  
It's Sam's mom on the phone! She  
says Sam's run away!

GEORGE  
What?

He turns back—but Harrison is already running down the drive.

CUT TO:

INT. BROOKE'S BEDROOM

Brooke hasn't moved; she is still sitting on the edge of the  
bed, sobbing. Finally, she reaches up and wipes her tears  
away.

BROOKE  
(whispering)  
She's right...

She stands up abruptly, and walks out.

CUT TO:

INT. MCQUEEN KITCHEN - MOMENTS LATER

Brooke comes down the back stairs, turns into the kitchen and  
opens one of the drawers. After rummaging through the  
contents, she pulls out a long, thin key. Then she walks out  
through the patio door.

CUT TO:

EXT. THE BACKYARD - CONTINUOUS

Brooke makes a sharp turn from the patio door, and walks along  
a narrow brick path to a shed which sits in the corner of the  
yard.

CUT TO:

INT. THE SHED - CONTINUOUS

The shed is fairly small—eight by twelve feet—extremely  
cluttered, and dark except for the light from a couple of tiny  
windows—and that which pours in through the door when Brooke  
opens it. She goes straight to the far corner and tosses  
aside a few boxes to uncover a steamer trunk. She opens the  
trunk, reaches in, and from underneath a pile of odds and ends  
pulls out a small metal lockbox. She lets the lid of the  
trunk slam shut, and walks out of the shed without replacing  
any of the boxes, or closing the door.

CUT TO:

EXT. FERERRA HOUSE

Harrison is walking up to the front door when his cell phone  
rings. Stopping, he yanks the phone out and pulls it open.

HARRISON  
(into the phone)  
Sam?

INTERCUT WITH:

INT. MCQUEEN LIVING ROOM

Brooke is standing in the middle of the room, phone in hand.

BROOKE  
(into the phone)  
Sorry, wrong sister.

HARRISON  
Brooke... Sam, she—

BROOKE  
(wiping her eyes)  
I know. Look, can you come over  
here? Right away?

HARRISON  
I have to find Sam—

BROOKE  
(raggedly)  
Everyone's out looking for her.  
Harrison, please...

HARRISON  
Okay, all right... I'll be there  
in a few minutes.

BROOKE  
Please hurry.

Brooke hangs up the phone, sniffling, and walks slowly over to  
Mackenzie's crib. Leaning over, she manages a bit of a smile  
at the sight of the baby. She reaches down and tickles her,  
tearing up again.

BROOKE (CONT'D)  
(sobbing)  
I'm sorry... I know...you won't  
understand... I...I...

Mackenzie gurgles up at Brooke innocently. Brooke picks her  
up and cradles her tightly, rocking her back and forth.

BROOKE (CONT'D)  
Your mom was right... It  
shouldn't have happened. None of  
it should have happened.

Tearfully, she kisses Mackenzie's forehead, and sets her back  
down in the crib.

BROOKE (CONT'D)  
I'll always love you, Mac... I  
hope you believe that.

She turns away.

CUT TO:

INT. THE BUS STATION - LATER

The clock on the wall reads 2:28.

Sam is fidgeting impatiently. Suddenly she gets up, and picks  
up her duffel bag. Walking over to the women's restroom, she  
disappears through the door—and a moment later Jane comes  
rushing into the waiting area, looking around frantically.  
Her cell phone rings, and she digs it out of her bag.

JANE  
(into the phone)  
Hello?

MIKE (O.S.)  
Jane?

JANE  
I'm at the bus station. She's not  
here.

MIKE (O.S.)  
Art called—he struck out at the  
train station. I'm almost to the  
airport now.

Jane turns around and heads for the doors.

JANE  
I just don't know what to do. I—  
where do we even start looking, if  
she's just...out there somewhere?

MIKE (O.S.)  
Honey, we WILL find her. I  
promise. No matter what it takes.

She steps out onto the sidewalk.

JANE  
Maybe I should talk to George  
again. She might have said...I  
don't know, something...to him.

MIKE (O.S.)  
Oh, hey, while you're there, you  
should see if they some kind of  
schedule.

JANE  
(bleakly)  
You think she's already gone?

MIKE (O.S.)  
I don't know... We have to be  
prepared, though.

JANE  
(sighs)  
All right.

She puts the phone away, turns on her heel and walks back into  
the station—and practically runs into Sam, coming out of the  
restroom.

SAM  
(eyes widening)  
Mom?

JANE  
Sam!

Jane hugs her tightly for a moment, then holds her at arms  
length.

JANE (CONT'D)  
(annoyed)  
You didn't even leave a note this  
time.

Something approaching panic appears in Sam's eyes, and she  
takes a step backward, looking like she might actually turn  
and run. Jane quickly abandons her irritation, and puts out a  
placating hand.

JANE (CONT'D)  
Sam—please... I just want us to  
talk.

Carefully, she slides her arm around Sam's shoulder and guides  
her in the direction of the seats.

CUT TO:

EXT. MCQUEEN HOUSE

Harrison walks up to the front door, intending to ring the  
bell, but there is a note taped to the door, so he pulls it  
off and unfolds it.

HARRISON  
(reading)  
"Harrison, please look after Mac  
until Dad or Jane come home.  
Brooke."  
(pause)  
"P.S.: I'm sorry for everything.  
Please forgive me."

Taped to the bottom of the note is a house key; shaking his  
head in confusion, he pulls it off and uses it to open the  
front door.

CUT TO:

INT. MCQUEEN LIVING ROOM - CONTINUOUS

The first thing Harrison does is go over to the crib and check  
on Mackenzie. After making sure that she's all right, he  
stands in the middle of the room, hands on hips, at a loss as  
to what to do next.

CUT TO:

INT. THE BUS STATION

Sam and Jane are sitting together. Sam is hunched over, and  
as she speaks, she never looks up from the floor.

SAM  
...I felt so...empty...like they'd  
just...reached in, and torn out my  
heart...

JANE  
(holding her)  
Oh, baby, I'm so sorry.

SAM  
And then...I ran to George.  
(laughs bitterly)  
Another disaster. After that...I  
couldn't face anyone...I just...I  
had to get away...from...from  
everything...

Gently, Jane lifts Sam's head up.

JANE  
I can't imagine how awful this  
must be for you, but...I want you  
to come home with me now.

SAM  
You're not just ordering me?

JANE  
(chuckles ruefully)  
Believe me, if I thought that  
locking you in your room until you  
were eighteen would do any  
good...

The moment of relative levity passes.

JANE (CONT'D)  
Sam...I can't stop you from  
running away. I know that. But  
it's not the answer. It really  
isn't. Now, I don't know how  
we're going to be able to work  
this out. But I really hope  
you'll try, because...if you left,  
a lot of people would miss you.  
Your mother included.

SAM  
(wavering)  
I don't want to go away...but...

JANE  
Just...come home with me. All  
right? Just for today. We'll  
just make it through today.  
That's all I'm asking. And we  
won't worry about tomorrow until  
tomorrow.

For a long time Sam makes no response at all. Then, finally,  
she shrugs, ever so slightly. Jane decides to take that as a  
yes, and hugs her tightly.

JANE (CONT'D)  
Oh! I have to call Mike and tell  
him that I found you. And Art.

SAM  
(groans)  
Oh, no. He didn't...?

JANE  
He came over as soon as he got  
your e-mail. He was very  
concerned.

Sam covers her eyes.

SAM  
Oh, God...

JANE  
I'm sure he'll be understanding.

SAM  
I'M sure he'll fire me.

JANE  
I'm sure he won't. And if he  
tries, I'll just have to talk to  
him.

SAM  
(mortified)  
God, please don't.

Jane stands up and pulls Sam to her feet.

JANE  
Let's go home.

CUT TO:

INT. JOSH AND LILY'S APARTMENT - LATER

Josh is sitting on the sofa, watching Lily pace back and forth  
in front of him.

JOSH  
Lily, just face it—if you had any  
idea where to start looking, you'd  
be out there looking.

LILY  
(frustrated)  
I know, I know. I just can't  
stand feeling helpless like  
this...

Josh reaches out and pulls her down onto the sofa.

JOSH  
She'll be all right. I mean,  
she's Sam. She's always all  
right.

Lily curls up next to him.

JOSH (CONT'D)  
About the football thing...

LILY  
Oh, I was just being completely  
paranoid. If it's what you want—  
I DON'T want you to start giving  
things up for me.

JOSH  
Naw, I don't really want to. I  
mean, I'll help get Stankowski  
ready to play, but I'm not suiting  
up myself.

LILY  
You sure?

JOSH  
Yeah... It felt good being part  
of the team again and all, but...  
it's just not me anymore.

A moment of silence passes between them.

LILY  
Josh?

JOSH  
Yeah?

LILY  
Did you ever call Coach Krupps and  
tell him you couldn't make it to  
practice today?

Josh's mouth drops open and he leaps up, leaving Lily to fall,  
flailing, into the empty space she is now leaning on.

JOSH  
I totally forgot! Man, Coach is  
gonna KILL me!

He rushes to the phone and picks it up.

LILY  
Sorry...I guess it's my fault.

JOSH  
(dialing)  
No, Lil, it's not— Dammit! It's  
busy!

He slams the phone down, making Lily jump; immediately he  
throws his hands up, contrite.

JOSH (CONT'D)  
Whoa, I'm sorry. I'm sorry.

LILY  
(annoyed)  
See, this is why I didn't want to  
tell you. I don't want you to be  
afraid to get mad around me!

JOSH  
Well, what am I supposed to do,  
Lily? I don't what happened  
before to happen again.

She gazes at him soberly.

LILY  
Josh...we need help. I need help.

CUT TO:

INT. MCQUEEN LIVING ROOM

The front door opens; Jane and Sam walk in—and pull up short  
upon seeing Harrison there. Sam's expression turns bitter and  
she looks away.

JANE  
Harrison, what are you doing here?

He puts up his hands defensively.

HARRISON  
Hey, this wasn't my idea, okay?  
Brooke called, she asked me to  
come over; when I got here, she  
was gone, there was just a note  
asking me to take care of Mac  
until you got home.

JANE  
What?

Harrison hands over Brooke's note, which Jane reads, puzzled.

CUT TO:

EXT. MCQUEEN HOUSE - CONTINUOUS

Mike pulls his car into the drive; and a moment later,  
Fleischer parks on the street behind him. Mike gets out and  
walks down to the sidewalk, as Fleischer also climbs out of  
his car.

MIKE  
Art, I really want to thank you  
for helping out today. I know you  
must be a very busy man.

FLEISCHER  
(waving a hand modestly)  
I'm a columnist; I set my own  
hours. Besides, I think that Sam  
is an extraordinary young woman,  
with a great deal of talent.

MIKE  
Look, if you wouldn't mind—do you  
think you could stay and talk to  
her? I know she really looks up  
to you—and I'm not sure if she's  
listening to any of the rest of  
us.

FLEISCHER  
(nods)  
Of course. I don't mind at all.

Mike leads Fleischer around the side of the house.

CUT TO:

EXT. THE PATIO - CONTINUOUS

The two men are continuing the conversation.

MIKE  
...she actually ran away once  
before. Well, for a day, anyway.  
But it still doesn't seem like  
her.

FLEISCHER  
I know—it's because she's  
normally so self-possessed. Then  
something like this happens, and  
we have to remind ourselves that  
she's only seventeen.

They are about to go inside when Mike spots something odd:  
the door of the shed hanging open.

MIKE  
(putting up a hand)  
Hang on a minute...

Leaving Fleischer at the patio door, Mike walks over to the  
shed and peers inside.

MIKE (CONT'D)  
Brooke?

It's obvious at a glance that the shed is empty; but Mike  
spots the misplaced and overturned boxes. Rushing to the far  
side of the shed, he throws open the lid of the steamer trunk  
and frantically goes through the junk inside.

MIKE (CONT'D)  
(ashen)  
Oh, my— Brooke? BROOKE!

CUT TO:

INT. MCQUEEN LIVING ROOM - MOMENTS LATER

The silent tension between Harrison and Sam and Jane is  
shattered by Mike running into the room from behind them, with  
Fleischer on his heels.

MIKE  
Where's Brooke?

JANE  
(irritated)  
She's not here.  
(holding up the note)  
She took off. AND she left Mac  
alone, even if it was for only a  
few—

MIKE  
(cutting her off)  
We have to find her. We have to  
find her NOW!

Harrison, Sam and Jane all look at each other.

JANE  
Why?

CUT TO:

EXT. KENNEDY HIGH ATHLETIC FIELD

On a grassy knoll overlooking the deserted track and football  
field, Brooke is sitting cross-legged, with the lockbox on the  
ground in front of her. Slowly, methodically, she digs the  
key out of her pocket, unlocks the latch, opens the lid of the  
box.

And lifts out the revolver lying inside.

SUPER: TO BE CONTINUED

BLACK OUT.

END OF ACT FOUR

THE END


End file.
